Welcome to the third installment of the NAMM Report. Before we get started, this seems like a good time to remind our readers of the protean nature of some of the information we have here. As we’ve said, much of the information we grabbed as we could from the noise and confusion of the NAMM Show floor. We can’t guarantee we got it %100 right all the time. Also, sometimes manufacturers may still be finalizing a few things, and so what you read here may have changed by the time the product hits the street. This is just a sneak peak of a few of the things we saw at the show that we thought our readers would love as much as we did.
And now, on with Part #3…
MACKIE
Mackie’s joint project with MOTU, the Mackie Control MIDI controller, was garnering a lot of raves. We told you about this last week sometime, but the buzz this console was generating marks it as an official NAMM event. Besides, a few of you may have missed the first announcement, so here it goes: the Mackie Control is a nine-fader (eight channels and master) MIDI controller that offers in-depth mixing, editing, automation, and navigational control for any supported digital audio workstation. We’re still hearing about what platforms support the Mackie Control. Drivers for Digital Performer posted on MOTU’s web site (www.motu.com). The list of features is impressive, with all the high-quality mixing, editing, automation, and navigation functions you’d expect from a professional, state-of-the-art control surface. If you need more than nine faders, there’s also the Mackie Control Extender, a console with all the channel strip features of the Mackie Control, but without the master section.
KORG
We wondered what Korg could possibly have left to give after their impressive roll-out at Winter NAMM, but we needn’t have worried: the Korg booth was practically over-flowing with cool stuff. First up is the Triton LE 88 ($2399), the 88-key version of their streamlined Triton LE monster synth workstations. It includes all the great features of the Triton LE Series – like 16-track sequencer, 62-voice polyphony, etc – plus the keyboard itself boasts graded action, making it even more of a thrill to use the awesome 16MB Stereo Bosendorfer grand piano ROM built-in.
On the other end of the spectrum was the microKorg. At a mere 37 keys, the microKorg ($500) is obviously a considerably smaller synth than the Triton LE, but it is nevertheless pretty darn cool. It’s a 4 voice modeling mini-synth with vocoder, mic, and arpeggiator.
And now back to the big keyboards… The PA60 arranger keyboard ($1599) is a more affordable little brother to their popular PA80, and includes many of the same features of that keyboard, like 62 voices and a 32MB ROM memory. There are over 660 programs, including a great stereo-sampled piano, and 256 factory-preset styles plus the 48 user styles. There are also editing features, a generous effects section, and much more. All-in-all, it’s an excellent arranger or performance keyboard, with a price tag that keyboardists are going to love.
They were showing the latest addition to their SP line of portable, interactive digital keyboards, the SP-300DB ($1250). It’s an 88-key portable keyboard with hammer action, 30 realistic and versatile sounds, and some great-sounding speakers built-in.
The D1200 is their new 12-track recording workstation ($1250). Sort of a follow-up to their D12, the D1200 offers an easier-to-use, more straightforward interface than its predecessor. It’s a great workstation for the price, with a very sizeable 40 GB drive, CD-RW bay, editing, and effects, including plenty of modeling to keep the guitarists happy.
All you DJs and dance artists out there will be pleased to note that Korg also unveiled their new Kaoss Pad, the KP-2 ($350), boasting a better interface and better sampling performance than the first Kaoss Pad, but priced about the same. The KP-2 has been talked about for a few months, but this is the first time we’ve seen it in action. We were very impressed – and we thought the first Kaoss Pad was pretty awesome to begin with! Not only was the sound generally better than the first Kaoss Pad, but the overall performance seemed head-and-shoulders above the original, with faster, more intuitive control. A new BPM feature lets you easily synchronize effects to the BPM. The Auto BPM function calculates the BPM automatically, detects BPM from the MIDI Clock, or sets BPM by repeatedly pressing the Tap switch.
And finally, Korg showed us some pretty nifty new rackmount tuners, the DTR-1000 ($210.00) and the DTR-2000 ($300). Both are very cool and easy to operate and would do any professional proud, but the DTR-2000 is a strong contender for champion in the “bells-and-whistles” department, with tons of features like 5 open tunings, flat tuners down 7 1/2 steps, and even cool flashing strobe lights.
We also checked out their fancy new digital metronome, the MA-30 ($32), with battery, earphone jack, tap tempo and reference pitch for tuning.
Vox
Vox surprised quite a few guitar aficionados last year with their Valvetronix Series of modeling amps. Actually, “surprised” is too mild a word; the traditionalists among us became quite agitated when they heard the news, mumbling about lack of values in the modern age, etc. However, any fears that Vox had abandoned their roots to hop on the modeling bandwagon were quickly laid to rest once we saw and heard these amps in action. They sounded great, looked great, and delivered the Vox performance we love (and what did we expect from these guys anyway?). Apparently, a lot of people felt the same, because this year the Valvetronix amps were back in plenty of brand new configurations. The AD60VTH and the AD120VTH offer the Valvetronix Series’ modeling in a powerful amp head. Every amp head needs a cabinet or two, and Vox delivers with several of them: the AD212, the 2×12″ speaker cabinet, and the AD412 4×12″ speaker cabinet. Both feature Celestion’s new Neodymiun (neo-dog) speakers.
Also on display was their compact T-15, a15 Watt 1×8″ Bass Combo with 3-band EQ. It would make a great amp for personal practice, and of course it boasts the classic Vox look as well.
A speaking of mini-amps, Vox gave us a look at a new configuration of their ever-popular Pathfinder. The P-15MS, a 15-watt Pathfinder mini stack with 2 – 10″ Celestion speakers.
Here endeth installment the third of inSync’s NAMM Report. We’ll continue tomorrow.